Thesis (M.A.)--York University, 2009. Graduate Programme in Interdisciplinary Studies. / Typescript. Includes bibliographical references (leaves 170-179). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR51556

Media shapes and supports certain ideas about how we view ourselves and others. The narratives that we consume train us to desire a particular formula of what critic Lauren Berlant calls "the good life": growing up, becoming a man or a woman, getting married, having children, and retiring. People who fail to fit into these narratives are often punished and excluded from society. However, queer theorist Jack Halberstam asks us to reconsider failure as a means of resistance. The texts that I examine fail to conform to narrative expectations or to fit formulae that are easily consumable or defined. They present queer characters and relationships that exceed social norms and generic conventions. These characters and relationships encourage us to reconsider the models of desire given to us, and to embrace a more nebulous state of anxiety found in liminal space. In Chapter 1, I discuss Argentine-Spanish-French film XXY (2007), which follows the story of Alex, an intersex teen who refuses to fit within the binary of male or female. In Chapter 2, I argue that Hitchcock's Vertigo (1958) lays the groundwork for the visual representation of anxiety and desire in the Japanese manga Aku no Hana (Flowers of Evil ), which explores non-monogamous relationships structured around sadistic voyeurism. In the conclusion I turn briefly to children's cartoons Steven Universe and Adventure Time, in which failure has been reimagined as queer utopia. By focusing on media that resist heteronormative conventions we can start to reimagine models for more empathetic and compassionate communities.

The aim of this paper is to examine whether or not current textbooks in social sciences for the Swedish Gymnasium follow the criteria set up in the new subject area Sexuality, consent, and relationships (Sexualitet, samtycke och relationer), which was brought into the current curriculum for the Swedish Gymnasium at the start of the autumn semester 2022. The study is performed by examining what content related to Sexuality, consent, and relationships is presented in the textbooks, in what way, which discourses are influencing the books, and what effect this can have on the socio-cultural practice in the form of consequences for the teaching process. The paper uses a combination of gender and queer theory, together with discourse theory as a foundation to interpret both the textbooks and the criteria of the curriculum. The used method is an adaptation of Norman Fairclough’s Critical Discourse Analysis, as modified by textbook researcher Lina Spjut. The material consists of three social sciences textbooks made for the class Samhällskunskap 1b at the Swedish Gymnasium School level.  The analysis revealed that two of the textbooks still contained and reproduced harmful heteronormative and binary norms, and lacked the norm-critical thinking required by the updated curriculum, showing influence of risk-emphasized silence discourse with elements of tolerance discourse. The third book was found to be more aligned with the criteria of the curriculum, having a high degree of norm-critical thinking, showing influence of a balanced-emphasized norm-critical discourse. All books were however lacking specific elements required that were added to the new curriculum, such as critical approach to pornography and information about honour-related violence and oppression.

Nesta dissertação pretendeu-se analisar, no filme Labirinto de paixões (1982), de Pedro Almodóvar, as performances sexuais dos personagens protagonistas Riza Niro (Imanol Arias) e Sexilia (Cecilia Roth), problematizando as visões binárias de sexo/sexualidades/gênero. A perspectiva teórica adotada neste trabalho teve, como um dos seus pilares, a Teoria Queer e Judith Butler como uma de suas principais representantes. A película foi tomada como uma espécie de documento e os personagens protagonistas Riza Niro e Sexilia serviram como pretexto/pré-texto para discutir um sujeito que apresenta múltiplas possibilidades de práticas sexuais. Os resultados da análise trazem reflexões importantes a cerca do quanto as performances de gênero/sexualidade podem ser variadas. No entanto, elas não são sustentadas no ideário das pessoas, embora a visão binária homem/pênis, mulher /vagina seja constantemente reforçada e mantida pela heteronormatividade, algo que reforça a segregação das demais práticas sexuais existentes e exercidas. Questões como o que podem ser homem, mulher, gay, lésbica e outras caracterizações afins, ficam diluídas e insípidas diante das performances que escapam aos enquadramentos impostos pela visão hegemônica do que são sexualidade e gênero. Comportamentos sexuais são postos em cheque quando, em um filme de 1982, ou seja, há 30 anos, já nos é apresentado um conjunto de personagens que possuem uma maneira diferenciada e plástica de se colocar diante da vida e das suas sexualidades. Esperamos que esta pesquisa contribua para uma reflexão psicológica liberta dos binarismos sexo/gênero, heterosexualidade compulsória e heteronormatividade, além de trazer uma reflexão também educacional sobre como podem ser flexíveis, isto é, não cristalizados, os modos de vida. / This dissertation aims at analyzing, in the film Labyrinth of Passions (1982), Pedro Almodóvar, the sexual performances of the main characters Riza Niro (Imanol Arias) and Sexilia (Cecilia Roth), discussing the visions binary sex / sexuality / gender. The theoretical approach adopted in this study had as one of its pillars, Queer Theory and Judith Butler as one of its main representatives. The film was made as a kind of document, and the main characters Riza Niro and Sexilia as a pretext / pre-text to discuss a subject that presents multiple possibilities of sexual practices. The analysis results bring important reflections about the performances as gender / sexuality can be varied. However, they are not sustained in the mindset of the people, although the vision binary man / penis woman / pussy is constantly reinforced and maintained by heteronormativity, which reinforces the segregation of other sexual practices existing and exercised. Issues like that can be man, woman, gay, lesbian and other related characterizations, are diluted and insipid performances before escaping the frameworks imposed by hegemonic view of sexuality and gender are. Sexual behaviors are put into question when, in a 1982 film, ie, 30 years ago, now we are presented with a set of characters that have a different way and to put plastic on life and their sexualities. We hope that this research will contribute to a psychological reflection of release binaries sex / gender, heteronormativity and compulsory heterosexuality, and also bring a reflection on how education can be flexible, that is, not crystallized, the ways of life.

Made available in DSpace on 2017-06-01T18:29:22Z (GMT). No. of bitstreams: 1 ertz_clarck_melindres_santos.pdf: 22379628 bytes, checksum: e541a018bce4ab632197c9df0b0b155f (MD5) Previous issue date: 2013-06-27 / This dissertation aims at analyzing, in the film Labyrinth of Passions (1982), Pedro Almodóvar, the sexual performances of the main characters Riza Niro (Imanol Arias) and Sexilia (Cecilia Roth), discussing the visions binary sex / sexuality / gender. The theoretical approach adopted in this study had as one of its pillars, Queer Theory and Judith Butler as one of its main representatives. The film was made as a kind of document, and the main characters Riza Niro and Sexilia as a pretext / pre-text to discuss a subject that presents multiple possibilities of sexual practices. The analysis results bring important reflections about the performances as gender / sexuality can be varied. However, they are not sustained in the mindset of the people, although the vision binary man / penis woman / pussy is constantly reinforced and maintained by heteronormativity, which reinforces the segregation of other sexual practices existing and exercised. Issues like that can be man, woman, gay, lesbian and other related characterizations, are diluted and insipid performances before escaping the frameworks imposed by hegemonic view of sexuality and gender are. Sexual behaviors are put into question when, in a 1982 film, ie, 30 years ago, now we are presented with a set of characters that have a different way and to put plastic on life and their sexualities. We hope that this research will contribute to a psychological reflection of release binaries sex / gender, heteronormativity and compulsory heterosexuality, and also bring a reflection on how education can be flexible, that is, not crystallized, the ways of life. / Nesta dissertação pretendeu-se analisar, no filme Labirinto de paixões (1982), de Pedro Almodóvar, as performances sexuais dos personagens protagonistas Riza Niro (Imanol Arias) e Sexilia (Cecilia Roth), problematizando as visões binárias de sexo/sexualidades/gênero. A perspectiva teórica adotada neste trabalho teve, como um dos seus pilares, a Teoria Queer e Judith Butler como uma de suas principais representantes. A película foi tomada como uma espécie de documento e os personagens protagonistas Riza Niro e Sexilia serviram como pretexto/pré-texto para discutir um sujeito que apresenta múltiplas possibilidades de práticas sexuais. Os resultados da análise trazem reflexões importantes a cerca do quanto as performances de gênero/sexualidade podem ser variadas. No entanto, elas não são sustentadas no ideário das pessoas, embora a visão binária homem/pênis, mulher /vagina seja constantemente reforçada e mantida pela heteronormatividade, algo que reforça a segregação das demais práticas sexuais existentes e exercidas. Questões como o que podem ser homem, mulher, gay, lésbica e outras caracterizações afins, ficam diluídas e insípidas diante das performances que escapam aos enquadramentos impostos pela visão hegemônica do que são sexualidade e gênero. Comportamentos sexuais são postos em cheque quando, em um filme de 1982, ou seja, há 30 anos, já nos é apresentado um conjunto de personagens que possuem uma maneira diferenciada e plástica de se colocar diante da vida e das suas sexualidades. Esperamos que esta pesquisa contribua para uma reflexão psicológica liberta dos binarismos sexo/gênero, heterosexualidade compulsória e heteronormatividade, além de trazer uma reflexão também educacional sobre como podem ser flexíveis, isto é, não cristalizados, os modos de vida.

The basic concept of the thesis is an analysis of a TV programme "Q" broadcasted by the Czech Television. The programme surveys queer subculture not only in the Czech Republic but also abroad, deals with searching for identities across the genders and disrupts conventions stemming from values of the heteronormative society. The programme title refers directly to the concept of queer, which represents a social phenomenon bringing about gender and sexual diversity and plurality. The thesis looks at the genesis of the programme from its origins, to its production, its broadcasting and finally its cancellation and replacing with another format. The motivation and reasons of the production team and the management for carrying the programme through and including it in the broadcast programming is discussed here, as well as the related decision-making processes and production mechanisms or the way the authors use feminist theories and gender aspects in the programme. The thesis also takes into consideration the long-term development of the programme's ratings. The main working method is qualitative research in the form of semi-structured interviews with the programme's authors. In terms of media production the thesis deals with organizational practices in the programme's production.